Category Archives: JB Boyd

The New Painting… 22 | Mar its humble beginnings. Seven colors so far in this spare palette will make two feet by two feet of swirling water.

The Latest Long Skinny… 24 | Jan completely done! Drop by RLS to see it anytime... ul 134 (this is it) 3x52” oil on panel 2018 $10,000

New Year… 08 | Jan paintings on the easel.

Getting Closer… 15 | Dec finishing this painting. -jb.

Spending Thanksgiving in Illinois… 26 | Nov

...gave me the opportunity to study shapes that are definitely not native to the Lowcountry. Who knows? There might be a painting somewhere here... -jb.

The Second Layer… 14 | Nov

...of paint is going down, which means brighter mid-tones will lighten the sky and hopefully make it much deeper.

Sanding down… 05 | Nov

...the first layer of paint to get ready for the next. -jb.

Working My Way Across… 16 | Oct

...the first layer of this long skinny painting. -jb.

Although I Finished… 08 | Oct

​...this painting a while back, I forgot to post a picture of the finished product. “us 28 (can’t look away)” 12x18” oil on panel $4,500

On Our Last Adventure… 25 | Sep wife and I didn’t see a single soul, but were treated to a few lovely vistas while biking the northern edge of Lake Moultrie. Normally I bring my big camera when we go out, but this time I forgot it, so I used my iPhone 7+ instead to capture two panoramic images, which I blended into one:

It is a neat process, made possible by the people who make Adobe Photoshop, and in case you’re into this kind of thing, I decided to describe it here.

I start with the first panorama, then increase the canvas size to give the image room to grow. 

Next I pasted the second panorama into the image, roughly lining it up with the bottom pano. The goal is to have two separate exposures, one set for the ground and one set for the sky. So when I was shooting the scene, I used the AE/AF lock (tapping on screen where you want to set the exposure/focus and then holding down your finger on that spot) to keep what I wanted exposed correctly.

Then I switched the layer order and lightened the foreground (by reducing its opacity) so that I could see through it to align the two layers.

Next I used the flipping super cool “Camera Raw Filter” to pull the black out of the under exposed foreground and transformed it (free transform then warp) to almost match the foreground. You don’t have to be perfect because in the next step Photoshop takes over.

When you do most of the work above manually, I’ve found that Photoshop’s “Auto-Blend Layers” does a much better job getting the rest right, combining the two images together. A simple “Free Transform” and some guides help to straighten up landscape.

Finally, the biggest decision of how to crop what you’ve captured comes in. I usually copy and paste several crops into new documents so that I can toggle between them to choose a favorite. Then one more “Camera Raw Filter” and a “Levels” adjustment in this new document cleans up the colors and eliminates the lingering grey. If you then save the two separately, you can have one process document and one final. That way, if you ever want to go back and re-crop or color edit differently, you have the option.

Now I may never decide to paint this image. I would guess that I paint one out of ten panoramics that I build. But either way, it is a fun process because in the end you get to see a landscape in a similar way that you would see it if you were standing there. And in the end, especially when it comes to painting realistically, it is the little things that make all the difference! -jb.



Blog Archives



Robert Lange Studios